I was born in Tarquinia in 1979. I attended the Academy of Fine Arts "Lorenzo da Viterbo" (ABAV) in Viterbo, achieving, in 2005, the academic degree with honour. My artistic production exposes us to a dexterity that transforms materials used to express a high ideal of relationship, using the artistic impulse as a healing function, compensatory of a pain that is constantly omnipresent. The first creative impetus is therefore my experiences and memories, which constantly watch over the process of conception, so there is symbiosis and synthesis between the creative passion that needs to be transformed “materia”, and the meanings of the completed work that are multiple and impregnated of symbolic valences, with omnipresent chthonic divinities in background even if not visible.
Thus, sex and death (Eros and Thanatos) combine in my work, a perfect correlation between the feminine element, death and life. The sacrificial ritual and the scream of Munch seem to be repeated in installations and sculptures. The use of white and plaster attenuates the drama of the vision, but reminds of the “briquettes” of the works of mercy of “Luca Della Robbia” not to make me forget, so it seems, that awareness refines the sensitivity and multiplies the symbolic meanings, and with the awareness that a white veil covers all forms of life as quicklime. Medium and artistic technique refer to an all-Italian tradition of assembly, which finds its first genial expression in Ettore Colla. The wreck, the object found, is relocated and given a symmetrical value in the cry of complaint that accompanies my sculptures. It is clear that what is most urgent to is the denunciation, the disguised and transfigured rebellion through the beauty of art; but it is still a denunciation, an acknowledgement, a reference to conscience and to a superior morality. All this makes me a vate, with my burden of pain and memories and with my courage to show them to the world.
Thus, sex and death (Eros and Thanatos) combine in my work, a perfect correlation between the feminine element, death and life. The sacrificial ritual and the scream of Munch seem to be repeated in installations and sculptures. The use of white and plaster attenuates the drama of the vision, but reminds of the “briquettes” of the works of mercy of “Luca Della Robbia” not to make me forget, so it seems, that awareness refines the sensitivity and multiplies the symbolic meanings, and with the awareness that a white veil covers all forms of life as quicklime. Medium and artistic technique refer to an all-Italian tradition of assembly, which finds its first genial expression in Ettore Colla. The wreck, the object found, is relocated and given a symmetrical value in the cry of complaint that accompanies my sculptures. It is clear that what is most urgent to is the denunciation, the disguised and transfigured rebellion through the beauty of art; but it is still a denunciation, an acknowledgement, a reference to conscience and to a superior morality. All this makes me a vate, with my burden of pain and memories and with my courage to show them to the world.
